Walk through the town in almost any direction and you'll pass hotels, upscale restaurants and sleek cafes, but mostly you'll pass tailor shops. Storefront after storefront is filled with racks of fabric and identical mannequins dressed in every possible style f-rom traditional silk ao dais to cotton capris and ruffled shirts to tuxedos and wedding gowns.
The tailors of Hoi An are famous for their skill, speed and business acumen, with several hundred shops all making the same promise: Bring us a picture of a garment, something to copy or even just a description and we can make it.
Throughout Vietnam, tailor shops advertise "suit in 24 hours" and "quick al-terations," but the sheer number of Hoi An tailors helps ensure the best deals and quickest service, and the town has a well-developed infrastructure for making sure the experience goes smoothly.
The first challenge is picking a shop. While some are larger, with more clothing and fabric on display, there's little to distinguish one establishment f-rom the next. Hotels will readily offer recommendations, but kickbacks are de rigueur in Vietnam (and plenty of other countries), so promises of quality and price should be viewed with a little skepticism.
Shopping around may get you a better price, but it will also take up more time. Larger orders should result in better discounts, so be sure to negotiate, rather than asking for a total up front.
I was not the ideal customer. I came unprepared, without magazine cut-outs, photos or sketches, or anything to copy, which meant relying on books of designs provided by the tailor. She stood over me as I flipped through the pages, clearly trying to get a read on how good a customer I might become. While she and her colleague spoke better English than most, they showed little interest in conversing.
Basic clothing such as shorts, slacks, button-front shirts and simple skirts or dresses typically cost f-rom $8 to $20 depending on the quality of the fabric, how quickly the garment is needed and how many finishing details are requested. For more elaborate requests, such as formal suits or evening gowns, the costs can run into the hundreds. Some people have whole wardrobes made; I just wanted an interesting souvenir or two.
Shops try to impress with their promises of speed, but for the best fit, you'll want to have at least two fittings, one to take measurements and one to try on the partly or completely finished garments. Inspect garments carefully. There's nothing wrong with requesting changes in cut or additional detailing, and they should rarely increase the price.
Between fittings, there are diverse activities to pass the time. Hoi An's old town is a UNESCO world heritage site, and the Chinese-influenced architecture has been beautifully preserved. Tickets are required to enter many of the buildings, one reason that Hoi An can feel a bit like Disney World. Instead, I opted for early morning visits to the city's bustling market for a glimpse of local life.
Here I tasted my favorite version of Cao Lau noodles, a local specialty of rough wheat noodles in a savory broth, with roast pork, lettuces, herbs and crisp wantons fried in pork fat. Dark red chile jam added a pungent heat and the wontons were fried until dark brown -- just a few stalls down women sold baskets of the fresh noodles, which are supposedly made with water f-rom a particular Hoi An well.
The town is filled with restaurants, and some are better than the typical tourist spots, but the seats are filled with visitors, and dishes rarely live up to their street food counterparts. The best restaurant food in Hoi An can be found at the outdoor seafood restaurants that line the shore of Cua Dai beach. Our taxi driver took us to "his" stall, but we stayed firm -- I had a recommendation for Hon (stall) No. 8. Here, we feasted on steamed clams in a broth of lemongrass, chile, mint and lime juice; squid sauteed with pineapple, tomato and onion and smoky grilled eggplant, all washed down with local beer. Tables were set on a strip of grass between the road and the beach, and tiny crabs skittered through the nearby sand.
The seafood restaurants are open all day and also rent beach chairs for just a few dollars.
Hoi An is nearly as famous for its cooking classes as for its tailors. There are dozens of options, but two of the most well regarded are the Red Bridge Cooking School and the Morning Glory Restaurant. The latter required advance reservations, so we signed up for a full-day course at Red Bridge ($43 per person, 8 people maximum). The program included a market tour, a visit to a beautiful model organic farm and a multi-hour cooking class whe-re we steamed rice noodles over a pot of simmering water for pho; grilled shrimp mixed with an herb paste in banana leaves; and simmered sea bass in a delicious caramel sauce with dill and garlic. There was a limited amount of hands-on cooking, but plenty of learning and eating, and the afternoon included a chance to cool off in the school's stunning 20-meter swimming pool.
We returned to town by boat, and the day's talk of food quickly turned to Hoi An's main industry -- everyone, it seemed, was having clothing made, filling extra bags with tangible reminders of their travel. The summer dress I had made for just $18 is a unique souvenir. I suspect, however, that I'll remember the taste of wheat noodles and roast pork, and the smell of clams steamed in lemongrass long after I've stopped wearing the dress.


text:
Mixed feelings over pension age rethink
Welfare and seniors groups have welcomed the federal government's decision to scrap plans to lift the pension age to 70.
But some – including business and industry – feel it's nothing more than a politically-motivated "vote winner" before the next election and will hurt the budget.
Prime Minister Scott Morrison on Wednesday said he won't pursue the change, which the Liberal Party has been arguing for for years.
The Combined Pensioners and Superannuants Association said the move made sense and means that many of the 100,000 people over 50 who are on the Newstart allowance won't have to wait an extra three years for the age pension.
"CPSA is very pleased that sustained campaigning against the pension-age-to-70 policy has paid off," the not-for-profit group's Paul Versteege said in a statement.
The proposal to incrementally increase the qualifying age for the pension to 70 by 2035 had caused anxiety for many people, Council on the Ageing chief executive Ian Yates said.
The focus instead needed to be on removing barriers and increasing job opportunities for older Australians.
"It was the people who wanted to work, or who needed to work but knew it would be difficult to get a job that this caused anxiety for," he told AAP.
"It's much better placed for government to be supporting those people staying in work or getting back to work than increasing the pension age."
The Australian Council of Social Service said it, too, was pleased the government has reversed its position but repeated its call to increase Newstart.
However National Seniors Australia described it as "clearly a vote winner".
Chief advocate Ian Henschke said the entire pension system – not just eligibility based on age – needed to be reviewed by an independent tribunal.
"The pension should not be a political football that gets played every time an election comes around," he told AAP.
"We should be discussing more than just the pension age."
The Australian Chamber of Commerce and Industry agrees, saying wholesale reform of the government's tax and spend decisions was needed and not "one-off announcements".
"We need to recognise that a decision not to increase the pension age will have an impact on the budget," chief executive James Pearson told AAP.
He noted that the proportion of people over 65 who are working has doubled over the past 20 years, saving the government money on welfare payments.
Categories: Finance, Tax
Still haven't found what you're looking for? Listings to pick up soo...
What are Australia's most popular vehicles? The 2020 results are in
New year, new you: 3 quick and easy finance resolutions
Disclosure Statement: Introducing your advisor and Australian Financial Services Licensee Robert Northcoat CFP is a director of Northcoat's Pty Ltd a corporate authorised representative of Echelon Wealth Management, Echelon is licensed to provide financial advice and holds Aust. Financial Services License No. 327250 General Advice Warning: General advice warning The information displayed on this communication is a summary only and should not be construed as investment advice or securities recommendations. It is prepared for general information and not having regard to any particular person's investment objectives, financial situation or needs. No recommendation (express or implied) or other information should be acted on without obtaining professional advice. You are encouraged to consult a financial planner before making any decision as to how appropriate this information is to your objectives, financial situation and needs. Also, before making a decision, you should consider the relevant Product Disclosure Statement available from your financial planner. This website is for Australian residents only.

redpajama_set_name: RedPajamaCommonCrawl


Terms were not disclosed for the deal, which took effect January 22,but was announced today. Along with the online and print magazine, the transaction includes all event and licensing rights, as well as the parallel entity Rolling Stone International.
PMC acquired a 51% stake in Rolling Stone in December 2017 before buying the remaining the 49% from Singapore-based BandLab Technologies, a collective of music brands including its namesake social music platform. BandLab had acquired its stake in 2016 from Wenner Media, the company created by Jann Wenner, who founded Rolling Stone in San Francisco in 1967.
PMC's portfolio also includes Deadline, Variety and Women's Wear Daily.


text:
Returning: The Bridge
January 11th, 2016 By David Knox 10 commentsFiled under: Programming,
The third season of Scandi-noir series The Bridge begins on SBS this week.
It picks up 13 months after the events of the second season.
This series first aired in Denmark in September.
Saga Norén is still working at Malmö County Police, but she misses her only friend Martin Rohde who is serving a ten year prison sentence. Saga, however, is convinced that she did the only right thing by reporting him, and that she cannot be associated with a convicted murderer.
The story starts with when a famous Danish gender activist and owner of Copenhagen's first gender-neutral children's nursery is found murdered on a building site in Malmö. Saga is forced to work with a new Danish colleague, who has difficulties in accepting Saga for who she is. They quickly come to the conclusion that the murderer has been very particular about the aesthetics and wanted them to find the body. This marks the beginning of a line of spectacular murders that eventually become personal for Saga and her career looks to be at risk and the questions is raised, can she actually continue working on this case?
Saga's past catches up with her when her mother unexpectedly arrives, creating unforeseen consequences for Saga.
9.30pm Thursday, 14 January on SBS.
Tags: The Bridge
estherhoffman January 15, 2016 5:16 pm
S.B.S is certainly the place to be this summer.It's the only free to air station worth watching right now.
JamieL January 12, 2016 12:59 pm
What happened to the British / French version 'The Tunnel', it had potential for an original storyline of it's own.
TVdude January 12, 2016 1:10 pm
Already aired(season 1), but I believe a 2nd season of the Tunnel is either been made or has been made, so hopefully abc air that in 2016 or 2017 @JamieL
iolanthe January 11, 2016 5:41 pm
Easily the equal of the first two series if not better. The premise on which it is based – Danish and Swedish policy easily travelling between each others' countries via the eponymous bridge – is now alas a thing of the past. Sweden has just reintroduced border controls, apparently to stop people shopping around for the most generous welfare system, so it's an hour or so even to get on or off the bridge which is going to throw a spanner into the current plot device of "something happening in Malmo so let's get there from Copenhagen as soon as possible". A brilliant series and as the population of Denmark is less than 6 million and they produce so much good stuff like this, Borgen and the Killing, why can't we, with over 20 million do at least as well?
David Knox January 11, 2016 7:50 pm
Why not Jack Irish and Top of the Lake as local noir?
Pertinax January 12, 2016 2:57 pm
Denmark had an enforced monopoly public service broadcaster with massive funding like the BBC for a long time, and still restrict commercial FTV as we know it severely reducing competition. While Denmark only has a population of 6m, since the first series of Wallander, Scandinavian TV is made to air across Scandinavia, Germany and the UK, and now world wide. They spend 2 years writing and making 10 episodes of a series.
Australian TV was based around buying up large volumes of US Network, BBC and ITV content cheaply.
Top Of The Lake is a BBC Worldwide/NZ production (the ABC pulled out after union opposition to an American actress).
Yes I'm aware ABC pulled out after opposition to Elisabeth Moss -I broke the story. TOTL still had spend from the UK TV channel here as part of its Aust. drama obligations, plus the creatives, key cast and crew were riddled with Aussies. Second season will be set in Sydney.
Angela January 11, 2016 3:17 pm
Love Saga – she's truly one of a kind.
Look forward to watching…
chilp January 11, 2016 2:22 pm
SBS doing a fantastic job of keeping us entertained in January!
Secret Squïrrel January 11, 2016 11:05 am
The Saga returns! I'll be watching.


The Facebook IPO debacle has finally subsided and solid companies in the tech space can once again come public with warm receptions. Palo Alto Networks ($PANW) is up 33% from it's IPO price today as of this writing. The company is in the business of replacing old and outmoded firewalls for large corporate customers so that security is in place for the more collaborative social networks we use today and all the new Web 2.0 applications. Social network security is a big deal becoming a bigger deal everyday, this is a mega-trend. Palo Alto sells their software and hardware products to more than 7700 customers up from just 1800 just two years ago. I haven't done much research on the stock but I like the space and I probably will.
The other IPO is in the web travel space, Kayak ($KYAK). You're probably familiar with the company and it's service, people seem to like it – the ease of use, the interface etc. I personally don't like these consumer web names anymore though, especially ones in hyper-competitive fields like this one is in, so I'm probably just a spectator there.
But putting the companies themselves aside for a moment, it's a nice sign that tech IPOs are back again. Especially at a time like this, what with Spain being beaten to death with its own shoes today.


text:
Canada Express Entry Invites 3,350 for PR; Cut-off score drops
Express Entry Draw April 3 2019
In the latest Express Entry draw April 3 2019, Immigration, Refugees and Citizenship Canada (IRCC) issued 3,350 invitations to apply (ITAs) for Canadian permanent residence to Express Entry candidates with scores as low as 451.
The Express Entry system manages the pool of candidates for three of Canada's main federal economic immigration programs — Federal Skilled Worker Class, Federal Skilled Trades Class and Canadian Experience Class.
The 3,350 ITAs issued in the April 3 draw bring the total issued in 2019 to 24,550.
The minimum score in the latest draw is one point lower than the cut-off score in the previous Express Entry invitation round on March 20, which was 452.
This was the third consecutive draw in which the cut-off score has gone down, a trend that may be attributed to the consistent two-week interval between draws. This marks the fifth consecutive draw in which IRCC issued 3,350 ITAs. Draw sizes, however, may increase in the coming weeks and months given Canada's higher admissions targets for 2019 and 2020 for the three economic immigration classes managed by the Express Entry system.
The tie-break used in the April 3 draw was set at January 9, 2019, at 07:35:09 UTC. This means that all candidates with a CRS score above 451, as well as those candidates with scores of 451 who entered their profile in the Express Entry pool before this date and time, received an ITA in this invitation round.
Eligible candidates for each class are assigned a score under the Comprehensive Ranking System (CRS) and are entered into the Express Entry pool, where they are ranked accordingly.
A set number of the highest-ranked candidates are then issued an ITA through regular draws from the pool.
Find out if you are eligible to enter the Express Entry pool
Canada is currently ahead of the pace it had set in 2018, which finished with a record 89,800 ITAs issued. A look at ITA results by April 3 for both years shows 2019 ahead of 2018 by 7,050 ITAs.
The following are hypothetical examples of candidates who would have obtained an ITA in the April 3 draw:
Ahmadis 34 and holds a master's degree. She has been working for four years as a policy researcher. She has never studied or worked in Canada. Leslie took the IELTS and scored an 8 in each category. Her CRS score of 451 would have been sufficient to obtain an ITA in the April 3 draw.
Sophiais 30, holds a bachelor's degree and has an advanced English language proficiency. She has been working for five years as an administrative coordinator. She has never worked or studied in Canada. Camille also has a sister who is a permanent resident living in Edmonton. Camille's CRS score of 451 would have been sufficient to obtain an ITA in the latest draw.
Akeem and Moji are 35 and 39, married and have advanced English language abilities. Catherine holds a master's degree and Jamel has a two-year post-secondary credential. They have never worked or studied in Canada. Catherine has been working for five years as an engineer. Catherine entered the Express Entry pool as the principal applicant and her CRS score of 451 would have been sufficient to obtain an ITA in the April 3 draw.
See full details and results of the draw.
Canada announces open work permits for Caregivers applicants
First-Ever Arrests of Operators of Birth Tourism Industry in U.S.


text:
Border: The Videographic Traces by Laura Waddington as a Cinematographic Memorial
Eva Kuhn —	"Images of Illegalized Immigration" Basel University, Switzerland 2009.
By Eva Kuhn
The film I would like to talk about today is titled Border and was realized between 2002 and 2004 by the filmmaker Laura Waddington, born in 1970 in London. The film begins with an inscription stating the following:
This is a film about Afghan and Iraqi refugees I met in the fields around the Sangatte Red Cross camp, in France. Unable to get to England legally, they tried to enter the channel tunnel, hidden in trucks and on freight trains.
Sangatte is a small town in northern France, right on the sea, a few kilometers south of Calais. It is 35 kilometers as the crow flies from here to England-in clear weather, the coast is visible. Near to Sangatte is the entrance to the fifty-kilometer railway tunnel that runs underneath the English Channel and connects the continent of Europe with Great Britain. In addition to freight trains supplied mainly by trucks, around thirty Eurostar high-speed passenger trains commute back and forth each day. The ferry port of Calais also does a brisk business. There are more than sixty daily crossings to Dover.
At the time of the war in Yugoslavia, many Albanians from Kosovo came as refugees to the region, in order to attempt illegalized entry into Great Britain. They slept in the public spaces of Calais, and local and private aid organizations made provisions for the refugees and demonstrated to the authorities against their living conditions. At the end of September 1999, the French Ministry of Social Services impounded an empty warehouse on the outskirts of Sangatte and commissioned the Red Cross to install and maintain an emergency shelter there. Originally intended as temporary accommodation for 650 people, the warehouse at Sangatte became the largest refugee camp in France. At the time of its closure in December 2002, 1600 people were camping there on a daily basis. Since it's opening, more than 70,000 people had stayed there.
Following the Albanian Kosovars, the new arrivals at Sangatte were increasingly Afghans, Iraqis, and Iraqi Kurds. For a small portion of the refugees, England was the first destination of their journey; for the majority, it was the last hope. England was generally made into an Eldorado while on the road-through constantly shifting the place where sights were set, and through communication with other refugees and government workers who said they should "try it over there." In fact, at that time, access to the asylum process was less bureaucratic in Great Britain, and social services were better there than in France or other European countries. Especially in the camp, after all the disappointments along the way, the United Kingdom was made into an icon, and collective fantasies were formed and cultivated. And after every failure to cross the border, the country of their dreams seemed far away again, no matter how close it might be.
Each night the refugees attempted to cross the border to England unobserved. The camp served as a service station for the fueling and repair of bodies, and as a platform for information exchange. It was five kilometers from the refugee camp to the compound of the Eurotunnel terminal. In between lay the highway A16, which was to be crossed on foot. The compound, equipped with video surveillance and lit to be as bright as day at all hours, is surrounded by multiple wire or barbed-wire fences, up to four meters tall. Then as now, people searched for pre-existing holes in the fencing, cut their own, or attempted to get past the fences by climbing over them. Once the outer security systems had been dealt with, refugees attempted to climb aboard shuttle trains turning around in the terminal. Occasionally, they jumped from overpasses onto the roofs of approaching trains. Since the high-speed trains produce a high wind pressure, it is not possible to walk through the tunnel on foot. Nevertheless, such attempts have repeatedly been made.
Although security measures became more and more stringent, hurdles became higher and every attempt more dangerous, the refugees kept at it. Evening after evening they set out under cover of darkness, and generally were apprehended on their route. With flashlights, they were taken from the fields and bushes, or were plucked from the trains and brought by the CRS back to the camp. After a failed attempt, many went voluntarily to the busses-"police taxis," as the refugees called them. The attempt to escape became a nightly routine. It was a job-a mission.
In fact, some people continued to make it somehow, to find their way through somewhere -hurrying with a fleeting shadow, keeping within the blind spot of a border guard, balancing in the off-zone of the surveillance cameras, making use of a technical malfunction or the blinking of the 300-eyed security force in the security command center. At the end of 2002, about ten people were successful each night. According to Red Cross estimates, in the three years between the opening and the closing of the camp, of the 60,000 camp residents, 85% succeeded in reaching England.
In May 2002, Nicolas Sarkozy was named Interior Minister of France, and in solidarity with his British counterpart, the like-minded hardliner David Blunkett, they proclaimed a "new era of cooperation against illegal migration across the Channel". At the end of December 2002, the camp was vacated overnight and the entire building was torn down. But the spirits of Sangatte could not be driven away so easily. The migration continued and England still glimmers on the horizon.
This is my attempt at a brief overview of the geographic and political realty in which the video Border was made, and to which Laura Waddington's documentary essay makes reference.
In September, 2001, the filmmaker visited the region and the refugee camp for the first time, and decided for ethical reasons not to film inside the camp. Instead, she went undercover with her digital camera, into the fields and streets between the camp and the Eurotunnel terminal, and took part in the nightly routes and routines of her protagonists. She hid from the police with them in the fields, and accompanied their tireless attempts to become stowaways and smuggle themselves across the border.
Laura Waddington risked adverse conditions and brought her physical situation, her point of view and her mode of existence, close to that of her protagonists. She became "interested" in the most literal sense-she was there, she became an intermediary and transformed the political event into a personal experience. She made no summary and constructed no overview. Instead, she left a blurry videographic trace-the trace of an encounter with a disturbing reality, the fragment of an action that she attempted in the fields and streets of Sangatte. No establishing shot would enable us to orient ourselves in the fields. No field commander surveys the situation. We are in the midst of the action-at night, often in high grass. The images are very closely tied to the filmer's line of sight, and her movements. Most of the time, we see little or nothing. If there is light, it is from cars driving past, the spotlights of helicopters, or the flashlights of police searching for refugees in the fields. No omniscient narrator illuminates the situation, explains to us the politically complex constellation, or establishes the chronological sequence of events, as I attempted to do at the beginning of my presentation. In the voice-over the filmmaker narrates fragments from the lives and destinies of those she encountered, and also names particular events and key dates. But this information is not illustrated and confirmed by the images, as is customary in classical expository documentary. Together with the other thoughts, in addition to the music, they form a second trace. And this trace is always the trace of an "I"-not a conventionalized and disembodied voice, like that of the sovereign classical commentator, whose statements are to be accepted simply as facts, but the voice of an affected and compassionate subject.
Subjected to the precarious lighting conditions and the unevenness of the terrain, Laura Waddington's camera operates at its technical limits. At the site of the event, it produces artifacts, pictorial disruptions, which obstruct the view of the represented and estrange the concrete, pro-filmic reality. The camera's technical reactions become visible, on one hand in image noise, and on the other hand, in the blurring and stalling of the flow of movement, which has to do with the long exposure time of the individual images. These two effects mark the aesthetic of the video and place the motivic object at an aesthetic distance.
Because of the media-specific disruptions, the referential reality is expressed as a reality that has been transfigured. The visible reactions of the camera at the site of the action refer to the opacity of the images, and at the same time, they contribute to an abstraction of the concrete, to a dissolution of the particular into an approximate, which amounts to a type of un-realization of the real. For a documentary film, this is an astonishing turn. The individual takes do not present themselves as objective depictions of a given situation, but rather refer to the endeavors of a technical apparatus, which is impaired in its functioning and attempts to grasp its object in vain. The faces of the protagonists cannot be identified and their silhouettes remain hazy-they merge with the background into a smoldering noise.
What is shown to us in Border can hardly be deciphered, nor do we become caught up in a stringent argumentation or a coherent narration. Instead, we are confronted with unwieldy, salvaged material-with much that is dark and unelucidated, arranged in a fragmentary manner. Border is a witness to its object, without showing this object. Or, showing is here always connected with concealing, and the filmmaker's testament implies the inaccessibility of the visible.
This approach testifies to a media-ethical stance: Laura Waddington's protagonists hide in the noise of the image. She protects them from being dis-covered, from their visual exposure; she shows them confidentially, as secrets. This runs entirely contrary to conventional TV journalism, or even to critically intended documentary films, in which faces often serve as the most important carriers of identification.
At the same time, this approach also testifies to an epistemo-critical stance. In interviews, Laura Waddington talks of being overwhelmed, of the feeling that what she saw in Sangatte could not be communicated, and the constant impression that everything is much more complicated and more complex than people, or than she, is able to understand: "I knew I could only leave a very small and incomplete trace."
As fragmentary as Waddington's work is as a document, as a filmic tableau of a highly unsettling situation, Border comprises an entity – an entity, in which the semi-transparent shadow beings at the margin of collective consciousness wander restlessly in place. The film Border is not only the document of a biographical action; it is at the same time a representative filmic image for the disturbing condition in which these ghostly existences have found themselves. No papers means no identity, no face, underground and without any ground to stand on. With Border, Laura Waddington creates an image for this barely visible presence, a filmic equivalent for this paradoxical condition of sleepless stasis on the site of transit.
I have termed this filmic image a "memorial" [Denkmal.] I mean this in two respects: first, "memorial" in the sense of an appellative "think about this" [denk-mal-nachs]. Waddington is not concerned with explaining this pro-filmic reality; instead, she wants to refer to its presence and existence, and to bring it to our minds [Andenken ]. Second, I mean "memorial" in the performative sense, that the film itself keeps something in mind [Gedenken]: this is a film in which thinking, in the sense of reflection as a structure and process, is inherent.
I propose that the artifacts that the camera produces as a result of the critical light conditions at the location of filming should be read as the traces of a compassionate consciousness. In a first step, they are the traces of a camera-consciousness that accompanies the represented object. Through the voice-over, in which the filmmaker subsequently meditates on her experiences in Sangatte, this camera-consciousness takes on a personal voice, and the indexical images are set at a temporal distance and styled into ghostly images that recur in memory or in dreams. Subjected to the conditions of this location, filmic images are produced that, following Deleuze, can be considered metaphors for mental images. The technical impairment then symbolizes the deforming processes of time-producing a type of weathered or mentally processed image. The pro-filmic reality is expressed as one that has been internalized and appropriated; or, the videographic expressions take on the quality of subjective impressions, of dream images, of the images of memory.
This effect is enhanced in that Waddington's filmic gestures at the site of the action hardly grasp what they attempt to see and to understand. This is demonstrated in how the camera movements are not subordinated to their object, in the sense of classic "following shots." Instead, the camera movements remain visible as gestures, as actions that are not capable of catching up with their motif. In combination with the almost abstract, de-materialized images, these searching movements become the movements of reflection; they take on the quality of movements of thought. If one thinks about the conservational aspect of filmic recording, one might conclude that, with the insistent actions of her camera on the site of the event, Waddington anticipates the traumatic memory of this site. She reflects the experience-her own and that of the protagonists-in the lastingness of its effect. According to my research, reflection-aesthetic and media-aesthetic are closely interwoven in this film.
The radical subjectivity that distinguishes the film Border in many respects is Laura Waddington's artistic answer to the encounter with an extremely complex reality, in which the difference between objective reality and subjective experience, as it is established in the theory of documentary film, becomes untenable.
Sangatte is one particular occasion in which the harsh reality of facts and the imaginary merge into one another. Many different stories are condensed at this site-the stories of media, of the refugees, of the smugglers. And the fiction has harsh consequences-the presentation of a person's life story will determine their real fate, at latest by the time of their application for asylum. The hopes and projections directed at the other side of the Channel, dreams of better lives and local fears are as much a part of the reality of Sangatte as the three daily meals in the camp and the security measures of the Eurotunnel corporation. Sangatte also has a retroactive effect-as a defining and lingering experience, which will leave, which has left impressions and traces. In Sangatte, a heterogeneous aggregate condition of reality prevails, and this is the object of Waddington's video reflection. She treats Sangatte both as the site of muffled fear and delectable hope as well as the site of bitter memory. In retrospect, Sangatte is guarded as a secret, is attempted to be repressed and forgotten. But the experience is haunting. It returns in memories and dreams.
"Border: The Videographic Traces by Laura Waddington as a Cinematographic Memorial" by Eva Kuhn for the Conference: "Images of Illegalized Immigration" Basel University, Switzerland 01.09.2009
(Extracted and adapted from the thesis: "Border ein filmisches Gedenken oder Die videografischen Spuren von Laura Waddington" von Eva Kuhn, Philosophisch-Historische Fakultät der Universität Basel, Kunsthistorisches Seminar Juli – Dezember 2006)


We have installed various machines in the coldstore environment. All electrics and motor are upgraded to suit your application. Heaters are fitted within motor and electric panels. Appropriate oil and grease is supplied to required areas of machine.


text:
An Interview in 7 Parts with Susanna Childress
Colorado Review Editorial Assistant Kristin George Bagdanov interviews Susanna Childress about her seven-part poem that appeared in the Summer 2011 issue of Colorado Review and the March podcast.
I first encountered Susanna Childress's poems while working on a review of her second book, Entering the House of Awe (Western Michigan University Press, 2011), for Ruminate Magazine last year. I should note that I am astounded by her work and so a bit biased. Her first book, Jagged with Love, was selected by Billy Collins for the Brittingham Prize and published by University of Wisconsin Press in 2005. A Lilly Postdoctoral Fellow from 2008-10 (another reason why I am biased toward Childress—I am a current Lilly Graduate Fellow), she taught for two years at Valparaiso University in Indiana before moving to Holland, Michigan, where she now teaches in the English department at Hope College. I was eager for an excuse to speak further with her about House of Awe and, in particular, about "The Hyssop Tub," a seven-part poem rich with artistic and biblical images, which appeared in issue 38.2 (Summer 2011) of Colorado Review. I wanted to meditate further on each of the seven parts and have asked Susanna questions correlating to each part. You can view the poem in its entirety here for reference.
I. Kristin George Bagdanov: In the first-page spread of this poem there are two similar but varied forms at play. Part I relies on large spaces between certain words, causing the poem to appear jagged, somewhat hesitant and uncertain. Each section also contains the shape of the sonnet but not all the formalities. Your poems as a whole in this book vary widely from tight couplets to lines that wind across the page and spill over to the next line. At what point in your writing process do you typically realize how the poem should be formed on the page—particularly in "The Hyssop Tub"?
Susanna Childress: Ah, jagged. A word I am enamored of, if my first book is any indication, and have feverish hope I might outlast, since, even if thematically, I hope also not to overuse. You've pegged me, is the point. I tend to feel like the spacing in this poem and others like it in Entering the House of Awe are representative of the halting relationship one has with language when investigating items of psychic heft, where the brain and tongue concurrently lag behind the work being done to or in or by the heart; poetry might be our general attempt to catch them up to each other. That is not to say, though, that I was hyper aware of how I laid out the line as I was doing it or in the revisions this poem (and others) received. I had a sense the spaces meant something, pressing as I was rather directly into matters of great psychic heft, but my concern in drafting and in revision was to be consistent with it, its look and its feel, whatever it was, and to produce a unity of effect (I borrow that phrase from Poe, among others, who believe it to be an aim of the short story). A few sections in "The Hyssop Tub" work slantwise towards their intensity, but this section straight away rams right up against it, and I see now that what is halting or, as you phrased it, hesitant, is a consequence of that: words are trying to keep up (and can't, quite).
Let me say this, too: for a few years now I have been playing around with what I call "Cherry Pickin' Sonnets," as I do not follow all the rules of the sonnet but, perhaps haphazardly, just those which seem to fit the tone or subject of the poem—parameters that I do not decide while I am writing nor do I detect until after the poem is written. It is probably true that I have some idea about the poem's character before I begin to impose certain (even if loose) strictures upon it. With "The Hyssop Tub," though, I wrote the first section without foreknowledge that I would write six others. When I finished a draft of the first section, which happened—I swear—to be an unwitting fourteen lines and carry the rhyme that I later fettered out as the final couplet, I had this inkling that a) I had only begun discovering what I needed to in this poem and b) the poem was finished. So in time I thought I might try to resolve these paradoxical inclinations by writing several more sections which I knew would be sonnets. Only after they were all written did I go back for, once more, consistency and massage the lineation towards a final rhyming couplet in each one. Somehow I was able to uncover rhymes without changing much, which I suppose is possible with a certain level of musicality but makes me wonder if I did not have it in my cherry pickin' subconscious to do a set of sort-of sonnets all along.
II. KGB: I noticed some significant changes from the version of "Hyssop" that appears in Entering the House of Awe and the version in CR (significant for us poets, at least—words and phrases cut, lines re-broken). In particular, part II of "The Hyssop Tub" loses rich words like "crepuscular," "splotched," "semi-submerged," and "instep." Your writing process looks like one of winnowing rather than augmentation. Could you say more about your writing process and the transformation of this poem in particular from its first form to the one we see before us in CR? Have you revised it in any significant way since its publication in CR?
SC: If only my revision process were so heady. The truth is, I had material constraints when I published with CR. The poem as it originally stood (and as published in my book) had longer lines than were possible to print in CR's page template. My choices, then, were to cut it down to fit the page or allow the lines to overflow, indicated with indentation/tabulation, which created a strange tail-looking little flicker after each long line and lost the 14-line count for each section. I opted to slim the lines to fit the page. The process of, as you put it, winnowing, was rather painful. I hated losing the words I had to lose, I mean crepuscular, crepuscular! What I realized, though, is that I have a tendency towards adjectival pizzazz—word-bling, if you will. I remember being accused in a graduate school workshop of letting my subject GRE studying get the better of my poetry writing. For the most part, I could defend my word choice, but in this case, I learned an odd lesson, rollercoastered back and forth by emails to folks at CR and at New Issues, where my manuscript containing the poem was about to go to the printers. After I had winnowed and relined and again winnowed and relined, cursing CR the whole way, I ended up liking it better than the original. It seemed somehow cleaner and less stuffy. But by that point the book was past the stage of substantial edits (that point, I think, where some poor graphic designer has to manually insert changes), and, were it even possible, I did not have it in me to ask my publisher to underwrite that cost. I would like to pretend this lesson has played itself out since then and, ultimately, refined my aesthetic, but as yet it is still a reminder of how my being disgruntled with certain stages of each poem's journey from drafting to publication is rarely justified—and often out of my control by mere millimeters or days. But even as a reminder it is good and helpful in its way.
III. KGB: This section inhabits two paintings by Mary Cassatt: one of a woman bathing her child and one of that same woman bathing herself. The poem initially focuses on the former image:
My father's the woman in the striped dress, holding my waist
tender as an oblong bread. My mother, too, her right hand
rinsing my foot in the bowl. My beloved's the woman leaning into
the child, her lap a honey possum's marsupium…
Given the epigraph from the Sidney Psalter, it's hard not to interpret these lines as a rendering of the Trinity. How have you found poetry helpful in illuminating or exploring difficult questions concerning your faith and beliefs? (concerns with which this book as a whole, I think, is largely concerned—see the Ruminate review for more on this).
SC: I suppose I should first admit that I had not thought of these figures in section three as the Trinity. I see it now, of course, and certainly this exemplifies one of poetry writing's most gratifying elements—that readers help writers understand layers of or new possibilities within their own work. I can also say that especially for the kind of illumination or exploration you are referencing, I learned a lot from Richard Hugo's first chapter in Triggering Town, which suggests that writing poetry is less an archive of resolved emotion and more an act of discovery. In a course I took with Scott Cairns I also found value in the (long history) of Midrash writing, where difficult questions are at the heart of—propelling any discovery(ies)—the purpose of writing that addresses or investigates issues of faith and belief.
IV. KGB: This section begins by speaking to Caravaggio's influence on the Spanish and Italian Baroque painters Ribera and Gentileschi, their fantastic and "brutal themes" that depict the beheading of Holofernes and the martyrdom of St. Bartholomew. The speaker eschews the extraordinary nature of these paintings for something simpler—the "genre scenes" of Diego Velasquez's early work, in particular, The Water Carrier of Seville. This poem seems concerned with the dailyness of living—women bathing, jugs of water, a russet-colored world—scenes that are held up to be extraordinary. Could you speak more about your attentiveness to these "genre scenes"?
SC: For whatever reason, your question makes me think of Richard Wilbur's "Love Calls Us to the Things of this World," with his famous rendering of line-hung laundry as angels, connecting the human and transcendent and the complicated relationship(s) and transaction(s) therein with the final image of nuns floating in their "dark habits/ keeping their difficult balance." Wilbur took a lot of criticism for these connections and, from feminist scholars, for romanticizing the hard work of laundering. It is unlikely Wilbur did his own wash, and I cannot suggest we should ignore this aspect. (I have never had to carry water long distances in heavy jars upon my shoulders.) Even through the classist or sexist (or both) perspective of Wilbur's speaker, the quiet power and stunning beauty of the poem lies in an awareness of how stuck we are here, with our everyday conundrums, and how those moments are both bridges to and emblems of all that is beyond the everyday—"Yet, as the sun acknowledges/ With a warm look the world's hunks and colors,/ The soul descends once more in bitter love/ To accept the waking body…." So perhaps poets like Wilbur and painters like Velasquez have taught me how to attend to the quiet and stunning moments in our lives. Within "The Hyssop Tub" it is also a clarifying acknowledgement of the speaker's own ordinariness, even if a bit begrudging, and her coming to a reckoning, as most of us must, that the dailyness of living, as you put it, may not be sensational but that it is or can be, indeed, extraordinary.
V. KGB: This section inhabits the often misconstrued scene of David and Bathsheba in the Bible. Your poem works against the connotations of Bathsheba as symbol, as moral cautionary tale:
BATHSHEBA we call to you
centuries of women who both knew & didn't know
better Believe me your voice had you one to speak
in holy text is mine…
Much of this book seems concerned with giving voice to the silenced. Would you describe this witness as an explicit aim of your work as a poet?
SC: If it is possible for something not to be accidental but not an explicit aim, then that might be what this is. As I studied Medieval and Early Modern Women's Writing in graduate school and later when I taught Carolyn Forché's anthology Against Forgetting I was very intrigued by the idea(s) and act(s) of witness through and in poetry. I can't say that I set out gritty with purpose to do that here or elsewhere in Entering the House of Awe, but I also was very aware of stepping away from a purely autobiographical narrative and allowing my reading and art imbibing of others' experiences lead me. I had been holding for some time onto the historical-contextual detail that Bathsheba was most certainly on the roof because of purification rituals associated with menstruation. That David with his power and his desire should be the symbol, as you word it, representing a dynamic between men and women that in sundry variations continues to affect women all over the world to this day—and by affect I mean eclipse and exploit. It is part of the speaker's own story, so there is a personal connection in the poem, but it relies on and draws from the voices that have not been able to speak their own story.
VI. KGB: This section draws on the Sidney Psalter, which is composed of reworkings of the English translations, rather than the Hebrew. This section examines two versions of the same line in Psalm 51:
it is not let the bones you have crushed rejoice but that bruised bones may
dance away their sadness.
The difference between bruised and crushed, sadness and joy seems tremendous and filled with implications for how one understands translations of the Bible and of any ancient or foreign text. Has your research and writing for this book helped you understand or reconcile the gap inherent in translation (from language to language, experience to poem)?
SC: My gut says yes, though I am uncertain I can articulate how. Mary Sidney Herbert, who I discovered along with other Early Modern women writers like Christine de Pizan, picks up the unfinished work of her brother Sir Philip Sydney after his death serving the Queen of England (for whatever reason, Herbert has been gaining a bit of popular attention; last fall, Robert Pinsky wrote about her psalms on Slate). Though Herbert is better known for, among others, Psalm 52, I have always been intrigued by Psalm 51 and became especially fascinated with Herbert's rendering of it—she is a woman working with Scripture, and she, too, is crafting a poem. Even across centuries and radically different socio-cultural contexts, her view of David's famous psalm of contrition seems to me to swing wide whole windows on the power of forgiveness, specifically as the recipient, and in turn on our relationship with the divine. Herbert has, thank God, forever altered Psalm 51 for me.
VII. KGB: In the last section of this poem, the speaker asks her lover
how could the bird in the cove
be anything but our love
In the first section, however, the speaker
bargained
with a man the whole night long to call what thing hung
between us love
Billy Collins describes your first book, Jagged with Love, as being "at the cutting edge of the long tradition of love poetry." Has your understanding of this suspended thing called love changed or transformed throughout your two collections? Also, do you have any advice for the rest of us who can't seem to get a grip on love?
SC: Oh, Lord: love. I am wretched at advice. It is true that my own experience has bent along a sweeter path since writing my first book. I should add healthier as a descriptor as well (though still challenging). In some ways, this poem traces that path, though I did not mean for it to be understood as an autobiographical journey alone (or at all, as those details are not provided). That kernel in the first section—What/ woman believes she has the turrets of God/ beneath her rattlebox of skin The flag I flew/ for so long read I'll erase myself if you want me to—speaks, I believe, to the experience of many women, whether it manifests itself in eating disorders or more generally in compliance and, when maltreated, passivity. For complex and myriad reasons, I did not believe myself worth being loved—or loved well, at any rate; I chose compliance and passivity towards maltreatment, yielding to those with whom I involved myself. Once I became more cognizant of the damage this was doing, I had to face it as something of an addiction, and therein I discovered the good, hard work of forgiveness. I also discovered its remarkable counterpart, being forgiven. Several years in, I met the man I would marry, who has never mistreated me, though both of us remain students of the stunning process of forgiving and being forgiven. So my advice, crass for something so complex, is this: you, me, Bathsheba—we are all—worth being loved well; it is, for some of us, terribly hard to believe, but true. If you can, find paths of forgiveness, both human and transcendent, that lead you away from indiscriminate submission and toward health.


text:
Lina Lecaro June 4, 2006
My secret is out and it's one that big tees, loose sweaters and even my favorite empire waist dresses just aint gonna hide anymore. I'm knocked up… Got a bun in the oven…Preggers… With child… Expecting… In the family way…And though I did plan it (or more accurately, I didn't try to prevent it) it's still taking some getting used to.
I'm filled with a mix of excitement, fear, and happiness not to mention impatience. And by the way, a severe 3 month bout with morning (afternoon and night) sickness is my excuse for not blogging too often lately, but now that I'm in the midst of "the good trimester" (the second) expect to see a lot more from me here. And, I promise I'll try not to be all about baby stuff either. That would be boring, even to me. I mean I was tired of hearing about "Brangelina" and "Tomkat's" spawn way before they even arrived.
But, I gotta say it's hard not to kinda have a one track mind right now. My belly's getting bigger and bigger, while my endurance level is getting shorter and shorter. Still, I'm fighting it, and though I'm taking it easier, I vow to be that hip chick still out at rock shows, clubs and parties, working the bump in a tight ensemble and not missing out on one ounce of fun, even without my usual cocktail(s). So far so good.
It's funny though, everybody keeps telling me how trendy it is to be pregnant right now, as if I care. I didn't take this giant step in some shallow quest to acquire the latest fashion accessory!
And yet, when I was invited to the Boom Boom Room "gifting suite" in Century City last Friday, put together especially for celebs to check out and take home the latest infant fashion prior to this week's MTV Movie Awards, I became giddy. At four months along, I haven't bought one single baby item yet, and now I'd get to score a bunch of swag for the little one.
But would I even like anything?
Turns out, kids stuff really is getting better and I'm not just talking about the miniature rock n' roll fashion in all the stores right now (AC/DC and CBGB's tees are everywhere). Sure, I'm a rock chick and my kid will probably be a rock fan (he/she's already been to South By Southwest, Coachella and a shitload of shows along the Sunset Strip) but it's all just a bit overdone right now.
The Boom Boom Room took over a whole floor of the Park Hyatt hotel, with room after room filled with plush blankees, cutesy clothing and other more unusual items. Most of the products were created by mothers who realized a need. Like Dear Johnnies Rachel Zinnywho makes hospital gowns in pretty, colorful patterns that can be monogrammed. "You always get your picture taken in these ugly gowns and I wanted to make something cute." She told me. I picked up a sweet pink and green polka dot number with hot pink piping. Will I rock it in the maternity ward? You know it.
Another mom who came up with a great idea, the lady from L'ovedbaby whose created stylish nursing shawls for the modest mom who doesn't want to pop out her boob for the world to see everytime her babe gets hungry. I know it's the most natural thing in the world blah, blah, but so is pooping and I don't want people to see me doing that in public either. Leche league ladies please don't write me!
The ubiquitous slogan baby tee is still popular and I gotta say some companies are still coming up with clever stuff. At Nursery Couture, I got a onesie that said, "Nobody Puts Baby In A Corner," while Rudechix offered more edgy stuff like red, black and grey tees with sayings such as "My Dad Can Dropkick Your Dad," "Getting Tattoos When I'm 18" and "My Parents Are Cooler Than Your Parents. "
As I meandered thru the hotel halls and into each room, bumping into TV stars (Ming Na, Joely Fisher), movie stars (Vivica Fox, who was really working the suite action… saw her again later at the MTV Style Lounge in Beverly Hills with Linda and Steffie) and other famous-for-being-famous types (Melissa Joan Hart who just had a kid; Marty, the cute blonde guy who should have won Rockstar INXS; and Shar Jackson, Kevin Ferderline's ex, picking stuff up for Britney's new baby, I guess) my haul got bigger and more interesting.
There was maternity stuff like lycra tees that said "Baby on Board" in rhinestones and sexy maternity lingerie from Sweet Dreams. I got a pair of these filmsy purple PJs (see pic of model) but I just don't know when I'm gonna feel daring and or confident enough to wear 'em. "Do men really find the pregnant belly sexy? "I ask my husband later that evening. "I think it's kind of a fetish," he says. "What, like chubby chasers?" I ask, my blood starting to boil and my eyes starting to swell for no apparent reason. He told me I looked cute just the other day and now my belly is a "fetish?"
He clarifies, "No, if it's your baby, uh, yes of course , it's sexy. But if a man's attracted to pregnant women he doesn't know, then I think it's kind of a fetish."
Nice save dude.
A piece of advice to pals and lovers of soon-to-be moms: be very, very careful what you say. Treat everything like the ol' "Do I look fat in this dress?" question and say the nicest, sweetest, most positive thing you can think of. It could make the different between 9 months of bliss or hell.
Here are some other links to cool stuff I saw/ got at the Boom Boom Room. Expect to see the celebs with them in all the mags in the next few months. Ohfive (baby shoes)Hopscotchlane (blankets)Bandannaboutique (bibs, blankets) Lilewes (baby stuff delivery service)


The latest version of HA was complaining that the structure of the custom component won't be supported in the future. Files for sensors, binary_sensors have been moved into the Miele folder. I am not sure how far backwards compatible that change is.
In the past, light was exposed as a binary_sensor that was indicating the status of the corresponding light. This has been removed. Instead lights are now exposed as such and can be toggled.
@ATWindsor triggering all those things for your ventilation is a little bit tricky without documentation. Feel free to experiment with the action, perhaps you find something that's not documented yet.
Sorry to be such a hassle, but is there some kind of trouble-shooting opportunities if not appliances are found for some reason? 3 out of my 4 miele-things are found, and the gateway. But the last of 2 ovens is not found.
can anyone help me solve these issues?
Any way to run this on hassio?
Is this a new install of the Miele component? If not, I got around a similar error by deleting the .miele-token-cache file in the HA config directory. At that point, I could re-log-in to the Miele site and retrieve a new token. I didn't have to get a new client ID/secret from Miele.
If you haven't gotten the Miele component working yet, that file probably doesn't exist. The hass.io configuration directory is /usr/share/hassio/homeassistant I think (I'm using a regular Linux/pip install).


text:
Designation document to be produced
23. When exercising their enforcement powers, investigators must, on request, show their designation document.
24. When exercising their enforcement powers, investigators may enter on and pass through or over private property.
DISPOSITION OF THINGS SEIZED
Notice of reason for seizure
25. An investigator or a peace officer who seizes rough diamonds or other things must, as soon as is practicable, advise their owner, or the person having the possession, care or control of them at the time of the seizure, of the reason for the seizure and that an application may be made for their return under subsection 27(4).
Storage or removal
26. The investigator or peace officer may store the rough diamonds or other things seized at the place where they were seized or remove them to a secure place for storage.
Duration of detention
27. (1) Subject to subsection (3), rough diamonds or other things seized may not be detained after
(a) an investigator determines that they meet the requirements of this Act; or
(b) the expiry of a period of 180 days after the day of their seizure.
Return of rough diamonds if no proceedings
(2) If no prosecution under this Act has been instituted on the expiry of the 180-day period, the rough diamonds or other things seized must be returned to their owner or the person having the possession, care or control of them at the time of their seizure.
(3) If a prosecution under this Act is instituted, the rough diamonds and other things seized may be detained until the proceedings are concluded.
Application for return
(4) If a prosecution under this Act is instituted and rough diamonds or other things have been seized but not forfeited, their owner or the person having the possession, care or control of them at the time of their seizure may apply to the court before which the proceedings are being held, for an order that the rough diamonds or other things be returned.
(5) After hearing the application, the court may order the rough diamonds or other things seized to be returned if the court is satisfied that sufficient evidence exists or may reasonably be obtained without further detaining them.
Return of rough diamonds on acquittal
(6) If the accused is acquitted, the court may order that the rough diamonds or other things seized be returned to their owner or the person having the possession, care or control of them at the time of their seizure.
Forfeiture of rough diamonds and other things
28. If a person is convicted of an offence under this Act, the convicting court may, on its own motion or at the request of any party to the proceedings, in addition to any punishment imposed, order the forfeiture to Her Majesty in right of Canada of rough diamonds or other things seized, by means of or in relation to which the offence was committed.
Consensual forfeiture
29. If the owner of rough diamonds or other things seized consents at any time to their forfeiture, they are forfeited to Her Majesty in right of Canada.
Forfeiture certificate
30. If rough diamonds or other things are forfeited under this Act, the Minister shall provide their former owner or the person having the possession, care or control of them at the time they were seized with a forfeiture certificate.
Disposition of rough diamonds forfeited
31. Rough diamonds or other things forfeited under this Act must be disposed of in the manner prescribed by the regulations.
Return of things seized if no forfeiture
32. (1) If rough diamonds or other things seized are not forfeited under this Act, they must be returned to their owner or the person having the possession, care or control of them at the time of their seizure.
(2) If the owner of rough diamonds or other things seized or the person having the possession, care or control of them at the time of their seizure is convicted of an offence under this Act and a fine is imposed, the rough diamonds or other things may be retained until the fine is paid.
LIABILITY FOR COSTS
33. (1) Persons convicted of an offence under this Act are jointly and severally, or solidarily, liable for all the costs relating to the seizure, detention or forfeiture of rough diamonds or other things incurred by Her Majesty in right of Canada in excess of the net proceeds of disposition, if any.
Debt due to Her Majesty
(2) The costs referred to in subsection (1) are debts due to Her Majesty, and proceedings to recover them may be instituted in a court of competent jurisdiction at any time within five years after the time they were incurred.
34. The Governor in Council may make any regulations that are necessary for carrying out the purposes or provisions of this Act, including regulations
(a) prescribing the fees payable for the issuance or replacement of a Canadian Certificate; and
(b) designating any place as a point of entry for importing rough diamonds or as a point of exit for exporting them.
Ministerial regulations
35. The Minister may make regulations
(a) respecting the manner of submitting an application under subsection 9(1) or section 11 and specifying the information that must be included in it and the documents that must accompany it;
(b) specifying the content of Canadian Certificates and the period of their validity;
(c) respecting the place and manner of submitting a report under subsection 13(1) and specifying the information that must be included in it;
(d) respecting the place and manner of submitting a report under subsection 16(1) and specifying the information that must be included in the report and documents that must accompany it;
(e) prescribing the requirements for containers to be used for the export or import of rough diamonds;
(f) prescribing the records, books of account or other documents or data to be kept by persons who export or import rough diamonds, their form and content and the period during which they must be kept; and
(g) respecting the disposition of rough diamonds or other things that are forfeited under this Act, the persons to be notified of their disposition and the manner of the notification.
OFFENCES AND PUNISHMENT
False or misleading information, and misrepresen-
36. No person shall wilfully furnish any false or misleading information or knowingly make any misrepresentation in an application for a Canadian Certificate or in connection with any subsequent use of the certificate or the export or disposition of the rough diamonds to which it relates.
Forging or altering a Canadian Certificate
37. No person shall forge a Canadian Certificate or erase or alter information appearing on one.
Transfer, sale, etc., of a Canadian Certificate
38. No person shall transfer, assign, give, barter or sell a Canadian Certificate if the person knows or ought to know that it will be used for the export of rough diamonds other than those in respect of which it was issued.
Failing to maintain or falsifying records
39. No person shall, in order to avoid compliance with this Act,
(a) destroy, alter, mutilate, secrete or dispose of records, books of account or other documents or data that they are required to keep under the regulations;
(b) make false or deceptive entries in those records, books, documents or data; or
(c) omit a material particular from those records, books, documents or data.
40. No person shall interfere with an inspector who is doing, or hinder or prevent an inspector from doing, anything that the inspector is authorized to do under this Act.
Summary conviction offence
40.1 (1) Every person who contravenes subsection 13(1) or (2) or 16(1) or (2) or section 22 or 40 is guilty of an offence punishable on summary conviction.
(2) A prosecution under subsection (1) may be instituted not later than three years after the time when the subject-matter of the complaint arose.
41. (1) Subject to subsection (2), every person who contravenes section 8 or 14 or any of sections 36 to 39 is guilty of
(a) an indictable offence and liable to a fine in an amount that is in the discretion of the court or to imprisonment for a term not exceeding 10 years, or to both; or
(b) an offence punishable on summary conviction and liable to a fine not exceeding $25,000 or to imprisonment for a term not exceeding 12 months, or to both.
(2) No person may be convicted of an offence for contravening section 14 in relation to rough diamonds that the Minister has ordered returned under subsection 15(1).
(3) A prosecution under paragraph (1)(b) may be instituted not later than three years after the time when the subject-matter of the complaint arose.
Factors to be considered when imposing sentence
(4) If an offender is convicted or discharged, under section 730 of the Criminal Code, of an offence under this Act, the court sentencing or discharging the offender shall, in addition to considering any other relevant factors, consider the nature and value of the exported or imported rough diamonds that are the subject-matter of the offence.
Additional fine
(5) If a person has been convicted of an offence under this Act and the court is satisfied that monetary benefits accrued to the person as a result of the commission of the offence, the court may order the person to pay an additional fine in an amount equal to the court's determination of the amount of the monetary benefits.
Officers, etc., of corporations
42. If a corporation commits an offence under this Act, any officer or director of the corporation who directed, authorized, assented to, acquiesced in or participated in the commission of the offence is a party to and guilty of the offence and is liable on conviction to the punishment provided for the offence whether or not the corporation has been prosecuted or convicted.
Applicant for Certificate for non-resident
43. If a Canadian Certificate is issued to a person who has applied for it for, on behalf of or for the use of another person who is not a resident of Canada and that other person commits an offence under this Act, the person who applied for the certificate is, whether or not the non-resident person has been prosecuted or convicted, guilty of the like offence and liable, on conviction, to the punishment provided for the offence, on proof that the act or omission constituting the offence took place with the knowledge or consent of the person who applied for the Certificate or that the person who applied for it failed to exercise due diligence to prevent the commission of the offence.
44. Any proceeding in respect of an offence under this Act may be instituted, tried or determined in the province where the offence was committed or in the province in which the person charged with the offence is, resides or has an office or place of business at the time the proceedings are instituted.
45. (1) The original or a copy of a bill of lading, customs form, commercial invoice or other document, in this section called a ``shipping document'', is admissible in evidence in any prosecution under this Act in respect of rough diamonds if it appears from the shipping document that
(a) the rough diamonds were sent or shipped from Canada or came into Canada;
(b) a person, as shipper, consignor or consignee, sent or shipped the rough diamonds from Canada or brought rough diamonds into Canada; or
(c) the rough diamonds were sent or shipped to a particular destination or person.
Proof of the facts
(2) In the absence of evidence to the contrary, a shipping document that is admissible in evidence under subsection (1) is proof of any of the facts set out in paragraph (1)(a), (b) or (c).
45.1 (1) Three years after its coming into force, the Minister shall cause a review of the provisions and operation of this Act to be undertaken.
(2) The Minister shall, within six months after causing a review to be undertaken pursuant to subsection (1), submit a report on the review to Parliament. If Parliament is not then sitting, the Minister shall submit the report to Parliament within the first 15 sitting days thereafter.
46. The provisions of this Act come into force on a day or days to be fixed by order of the Governor in Council.


TACOMA — A jury on Wednesday convicted Jaycee Fuller of first-degree murder in the 2009 killing of a 22-year-old Somalian cab driver in Tacoma.
The News Tribune reports 37-year-old Fuller is scheduled to be sentenced Dec. 19. He requested a delay in his sentencing until after the holidays but that request was denied. Fuller represented himself during the trial.
Pierce County prosecutors say Fuller was upset at immigrants for taking American jobs so he hired Mohamud Ahmed for a ride in March of 2009, cut his throat and robbed him.
A different jury convicted Fuller, a former cabbie, of Ahmed's death in 2010 and he was sentenced to 28 years in prison. The Washington State Court of Appeals ruled that Fuller did not get a fair trial, overturned the conviction in 2012 and ordered him to be retried.


Latham & Watkins has scored a major coup with a triple partner hire from Mayer Brown to boost the firm's investment fund practice. Kathleen Walsh and Andrea Schwartzman will join the firm's New York office as partners in the corporate department and Alan Van Dyke will join the firm's Chicago office as a partner in the tax department. The trio specialises in private investment fund formation for a variety of US and global clients. The investment fund practice is a global cross-practice group that consists of around 60 lawyers from different departments.


About 19% of these are separation equipment, 4% are mine mill, and 2% are other mining machines. A wide variety of continuous miners options are available to you, such as core drilling rig, ball mill, and rotary drilling rig. . Mineral Flotation Machine For gold+copper+Zinc+Chromium+Manganese Recovery Plant.
Drilling Rigs, Drilling Rigs Suppliers and Manufacturers at Alibaba .
Drilling Rigs, Wholesale Various High Quality Drilling Rigs Products from Global Drilling Rigs Suppliers and Drilling Rigs Factory,Importer,Exporter at Alibaba . . small portable full hydraulic water well drilling rig drilling rig/portable digging machines/borehole . Order). Jining Hengwang Mining Machinery Co., Ltd.
Roadheader, Wholesale Various High Quality Roadheader Products from Global Roadheader Suppliers and Roadheader Factory,Importer,Exporter at Alibaba .
A wide variety of mini stone crusher machine price options are available to you, such as jaw crusher, hammer crusher, and impact crusher. . 2018 mobile crusher plant qatar , small ballast crusher/mini stone crusher machine price . used mini mobile stone crusher machine price for construction gold mining quuipment.
Moving Crusher, Wholesale Various High Quality Moving Crusher Products from Global Moving Crusher Suppliers and Moving Crusher Factory,Importer,Exporter at Alibaba . . steel casting jaw crusher wear parts moving jaw plate for ore mining .. qatar mobile moving crusher for river gravel and Manganese oxide ore.
Alibaba offers 9950 rotary pile drilling rigs products. About 42% of these are construction machinery parts, 33% are mine drilling rig, and 5% are other construction machinery. A wide variety of rotary pile drilling rigs options are available to you, such as rotary drilling rig, core drilling rig.
Buy Barite, Wholesale Various High Quality Buy Barite Products from Global Buy Barite Suppliers and Buy Barite Factory,Importer,Exporter at Alibaba .
Quarry Run Rock, Wholesale Various High Quality Quarry Run Rock Products from Global Quarry Run Rock Suppliers and Quarry Run Rock Factory,Importer . Sold To More Than 10 Countries quarry sand and rock crusher qatar . POPULAR HOT SALE Mine equipment hydraulic quarry cone crusher plant.
Barite Ore From Pakistan, Wholesale Various High Quality Barite Ore From Pakistan Products from Global Barite Ore From Pakistan Suppliers and Barite Ore From Pakistan Factory,Importer,Exporter at Alibaba .
Heavy Duty Truck Leaf Spring Material, Wholesale Various High Quality Heavy Duty Truck Leaf Spring Material Products from Global Heavy Duty Truck Leaf Spring Material Suppliers and Heavy Duty Truck Leaf Spring Material Factory,Importer,Exporter at Alibaba .
Oman Products, Oman Products Suppliers and Manufacturers at .
Oman Products, Wholesale Various High Quality Oman Products Products from Global Oman Products Suppliers and Oman Products Factory,Importer,Exporter at Alibaba .
China Barite Ore Pakistan, China Barite Ore Pakistan Suppliers and Manufacturers Directory Source a Large Selection of Barite Ore Pakistan Products at white barite ,barite . Zhengzhou General Mining Machinery Co., Ltd. . China factory rock stone crusher machinery in pakistan PE150x250 PE200*350 PE250*400.
Shanghai Zenith Minerals Co., Ltd., Experts in Manufacturing and Exporting Jaw Crusher, Impact Crusher and 10318 more Products. A Verified CN Gold Supplier on Alibaba .
Continuous Miners For Sale, Wholesale Various High Quality Continuous Miners For Sale Products from Global Continuous Miners For Sale Suppliers and Continuous Miners For Sale Factory . Mineral Flotation Machine For gold+copper+Zinc+Chromium+Manganese Recovery Plant ... Sany Heavy Industry Qatar W.L.L..


Advantages of Employing a Whole Body Vibration Machine Vibration machines provide neuromuscular training to improve muscular strength, power, and balance. There's a platform on the machine where you can stand or sit. The user can control the speed level of the vibrations and the length of time that they spend on the machine depending on their particular needs and fitness level. As the frequency levels increase, the intensity of the vibrations also go higher. One also can use to machine to do un-weighted strength exercises like push-ups and squats. One of the advantages of utilizing a whole body shaking machine is the fact that when one does isometric exercises, they experience muscle development. Everyone including the aged can profit tremendously from these type of exercises. If you experience knee osteoarthritis, you can enhance your muscle strength by doing exercises in positions such as dips, squats, and lunges for 1 minute to a minute and a half three times a week. Whole body vibration helps people with different disabilities who cannot do regular strength training exercises. They can help to strengthen their muscles in addition to receiving other advantages with little impact on their joints or stress on their cardiovascular system. People that suffer from Parkinson's disease or the ones that have multiple sclerosis may also make use of this machine to increase their stability, strength, flexibility, and balance. Even the aged can use vibration exercise training to boost their quality and quantity of life by using whole body vibration three times a week or even more.
When doing vibration exercises, the synovial fluid is released into the joints which results in lubrication that improves movement. Stiff joints can relax as you exercise which loosens the stiff muscles, and thus you can move more freely. Healing can occur as the increased circulation pumps oxygenated blood to joints that are damaged. That is the reason there are very different approaches where the whole body vibration increases the range of motion and flexibility while decreasing joint pain.
There is a concern among many post-menopausal women of decreasing bone density. Nevertheless, with whole body vibration training, this doesn't need to be the case. Research has shown that the deterioration can be reduced with whole body training. This lowers the danger of the occurrence of osteoporosis because of the aftereffects of post menopause. After an intense workout session, one can feel exhausted and can experience soreness and stiffness the next day. Nevertheless, one can recover from these effects by utilizing the whole body vibration machine following the exercise. The machine helps to massage your tired legs after sitting or standing for long and helps rest the calves quickly providing you with the much-needed aid. Vibration exercise helps to increase the lymphatic drainage which in turn cleanses the toxins from the body.